Charlie Braxton
The Games Most Respected
By Anthony Colom
anthony@newpowermagazine.com

Umm, that’s a good question. In my opinion, what’s wrong with hip-hop is corporate America. The music business has turned corporate. There are no longer people in A&R positions who are music people. Meaning, there are very few A&R people in this business who will listen to a demo tape or go see a live hip-hop act or hear about a hip-hop act by word of mouth, and sign that act....Sound unheard. Meaning, an act with ties to no camp, publisher, or producer. Say, someone in Mississippi, who has no ties to anybody. You’ve got kids here who’ve got talent, who’ve got what it takes to really make it in the music industry in terms of shear talent, but, because they don’t have Sound Scan, because they don’t have BDS, because they’re not connected to a high powered manager and no access to these people, their chances of getting a record deal as it stands now, is slim or none. As a result, u have these people who are putting out these cookie-cutter records and are doing what I like to call Sound Scan A&R. U know, or BDS A&R. Meaning, if someone tells ‘em about an act, and they say, hey, it’s a hot act - first thing they’ll do is go to thier computer and look up their bds and sound scan. If u know anything about the music industry, u know that bds can be fixed and u can definitely buy sound scan if you’ve got the right money and know the right people. It says nothing about your talent. It doesn’t say anything about your ability to connect with people. It says a lot about your ability to network. That’s what’s wrong. That’s why so much music is sounding alike. That’s why no one is willing to take chances and do good music. A good example is.... Bubba Sparxxx and I were having a conversation and I was telling him how much I appreciated his album, Deliverence. I asked him what he thought went wrong, and he said they didn’t know how to market it. It was a good album, but they didn’t know what to do with it. U know, everbody’s getting crunk, so they want u to get crunk. Lil Jon’s figured out a way to sell records and deserves to sell records cause he’s been in the game all this time. But, we want everybody to sound like Lil Jon. That’s not fair to Lil Jon, and it’s definitely not fair to any of the artist out there who are wanting to do something different. What’s right with hip-hop is.....It has this resilient spirit. It’s ability to go left when everyone else is forcing it to go right. Just the shear will of the people and the audience to find someone and put them on top. The record companies weren’t necessarily looking at Texas for a second. Texas kept grinding. Texas kept doing what they were doing with Slim Thug, Paul Wall, and Chamillionaire. Chamillionaire was frustrated at one point because he was going to all these meetings and nobody wasgettin’ it. I remember he told me he went to Def Jam and was trying to convince them. He was playing his music. He was rapping before ‘em, and one A&R was looking out the window. Wasn’t even listening to ‘em. This was before he got this big record deal. Before Texas got hot. So Texas put themselves on. And they did that by just grinding. And that’s the thing that’s good about hip-hop. Hip-hop is very tenacious.

U are one of a few people who can actually say that they had a hand in this southern movement, even before it really started. U probably had as big a hand as anyone in helping push it. What do u think about down-South’s hip-hip and where it’s headed ?

Right now, we’re in a good spot, but we could be better. In other words, yes, the eyes of the world are upon us, and everybody wants to understand us, but at the same time - like Jermaine Dupri and I were talking, we still don’t have that many southern superstars. What I mean by southern superstars is...... Somebody like a Snoop Dogg, who when he drops a record, is gone sell 2 million everytime he drops. Someone who’s considered starpower and can carry a movie or a record label and do that for years to come. Not just do it for 2 years, 3 years, or 5 years, but have a 10, 15, 20 year career. The people we’ve got down here that are doing that is OutKast, and Ludacris is just now getting to that point. But we need more. We need just as many superstars in this game as New York has. Those people need to then take that clout that they have and put other people on. I think that that has to happen. Another that has to happen is...... New York and the westcoast have been dominating the music industry for a long time. As a result of them dominating for such a long time, they tended to put people on or music on, that they liked. They didn’t open the door for us voluntarily. We had to show them that it was profitable for them to open the door. I think southerners are gonna have to form some kind of industry. It looks like right now, Atlanta’s gonna become that focal point, or Miami might be that focal point. We really need it in all 5 epicenters of hip-hop. What I mean when I say 5 epicenters is.... I’m talking about Miami. I’m talking about Atlanta. I’m talking about New Orleans. I’m Talking about Memphis. And I’m talking about Houston. We need those 5 epicenters to grow a serious record industry. One capable of producing national and international stars. Hopefully , those epicenters will interact with one another and help each other out to form an infrastructure that we’ll be able to sell records for at the next 10, 15, 20 years. And they will be growing major labels.

OK, when u spoke of the epicenters, u named five. You’re home is in Jackson, Mississippi.

Yes, I’m originally from McComb, Mississippi.

Ok. Why didn’t u name Jackson as an epicenter and what’s it gonna take for it to become one ?

The reason it’s not included is because, one, each one of the epicenters created a certain sound - Like Miami did the Miami bass. Out of Miami came Luke, J.T. Money, Trick Daddy, and the Trinas. They triggered a movement. They had their own sound. They’ve had a number of successful artists and labels. Atlanta’s the same way. New Orleans.... The same way. No Limit, Cash Money, Do u remember the label, Big Boy ? That was the label that Mystikal and Fiend started out on. The whole bounce sound started in New Orleans. Memphis started the buck sound. Which later on, morphed into the crunk sound. They’ve had Three 6 Mafia, 8 Ball and MJG to come out of there. It’s produced a number of stars. And it’s produced a sound. Houston’s the same way. Jackson, with the exception of David Banner........ Banner hasn’t even gone platinum, yet. We’re not at that point where we’ve produced enough stars. There’s also not enough record labels here that are competing regionally or nationally. Talent wise, we’re competing. But not in terms of shear business. Understand, this is about dollars and cents. What’s gonna have to happen is.... One, somebody’s gonna have to break through. When that person breaks through, he or she has to be generous and help other people break through. Even if that person isn’t on his or her label. They can’t help everybody. I understand that. And maybe they shouldn’t. But, at least one person. It’s like, each one, teach one. People who know me, know that I’ve taught a lot of people in Jackson and have helped a lot of People in Jackson. The one thing that I’ve always told them is to make sure u pass this along. The more these big labels come to Jackson after I’ve gotten my million dollar record deal, the more talent they’ll discover. That’s how Jackson can become an epicenter. Atlanta became an epicenter for music because Maynard Jackson had the vision and foresight to see what the music industry could bring to Atlanta, financially. These businesses pay tax dollars, create jobs, and more importantly, attract other businesses who would want to move there. Jackson and the state of Mississippi has to do the same thing.

What artists do u think aren’t getting the recognition they deserve ?

There’s a group called Snubnoze in North Mississippi. Super fuckin’ hot ! Super hot ! They’re produced by an artist named Blackout. The record is called “Digital Gravel,” or something like that. A great record. I always liked XVII down on the Mississippi coast. J Mac in Biloxi, he’s tight. These are just Mississippi artists. Donnie Cross is gonna be somebody who’s underestimated. He’s an underdog. Money Water in Texas is off the chain. That’s another Devin. There’s some more artist, like Steve Austin in Dallas, Acafool in Florida, my boy Rome in Savannaugh, Georgia, Ole E. is hot, and Q Ball and Blackfolk, Inc. in Tennessee. Look out for them. I think Pure Pain Records is the next label from the South to really make major moves. These cats are doin’ what No Limit did. Dog u can’t turn on a t.v. and not see a dj without one of their shirts on. They’re networking and making connections. I’m starting a consulting firm to help labels get up on their feet. That’s on down the line. There is talk of me even doing a label. I’m in the process of putting together a label to put out some of the music that I like. To put out some of the artist that I like. I’m working on movie scripts. Talks with me and some people in New York about putting together some urban films. Of course, I’ve been doing a book deal forever. I lost my manuscript in a fire that burned my house down. I may even retire and do some other things.

With all of the features that you’ve done on southern artists over the years, and all the careers that you’ve helped make thru your positive articles, did any of these artist come to u and extend a hand in your time of need after the fire destroyed your home and all of your possessions ?

U know what ? Ironically, a lot of the people around the country reached back. A lot of private citizens definitely reached back. U had a couple of rappers who did. Yeah, u had a bunch of people in the music industry who did. I was overwhelmed with the love and support that I got from the music industry. Specifically, the hip-hop industry.

Was there anyone in the business who disappointed u because he or she didn’t offer any help ?

Yeah, there were a few people.... Yeah! Surprisingly enough, the people who showed the most love, were people I had never met. That really surprised me. I got letters from as far away as Gremany, France, and Tokyo.

U and I spoke awhile back and u said that the opportunities for u, in the type business that you’re in, would be better in one of the southern epicenters that u mentioned earlier. Where would u go if u left Mississippi ?

Probably Atlanta. The reason why , is, Atlanta’s only 6 hours from Jackson, there’s a large number of Mississippians living in Atlanta, u find more industry people flying in an out of there, and you’ve got a lot of labels there. If my wife had her way, we’d have left Mississippi 10 years ago. If I were in New York right now, I’d be a whole lot wealthier. Dude, everybody in New York’s getting book deals. Everybody’s getting book deals who started out with me. Kevin (Powell) has had 3 book deals.

Do u think it’s because you’re from Mississippi ?

The first time I went to The Source, I was trying to figure out why all of the writers were getting these book deals. How in the hell can they do that ? I found out that The Source was in the building with two publishing companies. So getting on the elevators everyday, you’re bumping into these people and the opportunities are there for a writer. There are very few opportunities in Mississippi for a journalist who writes in hip-hop, unless, they make their way. Carlton Wade is now the southern correspondent for The Source. I mentored Carlton personally. I’ve been knowing Carlton since he was fifteen. He use to come over to my house when he was a member of a rap group called Organized Rhyme. I never thought that he would go on to become a journalist. I got him his first job at Rap Sheets.

With all of the writing that you’ve done in this business and as well known as u are....... Do u still find people trying to shut u out of certain things just because you’re from Mississippi ?

Well, I’ll tell u what, one of the things that frustrates me now is, back in the day when I first got started, when southern hip-hop really started to take off, cats didn’t want to come down here. U know what I’m sayin ? When it really started to take off, cats didn’t want to go to New Orleans - so, they called Charlie. When I tried to convince everybody to let’s do a piece on P. (Master P.), nobody wanted to do it. When P. finally broke thru, I got a call sayin, “I want u to go to New Orleans.” They didn’t even know that P. was living in Baton Rouge at the time. I didn’t mind cause that’s what I wanted to do. After all those years of begging for more southern artists, I wound up going to Baton Rouge. I did like two stories in The Source on P., and one in XXL. I did stories in almost every major rap publication on No Limit. That was because no one from New York wanted to come down here. Cash Money was the one who had a big press junket and people started to see how much fun there was to be had in New Orleans. All of a sudden now, everyone wants to come down. Now, when they want someone to do a piece on Houston, they fly someone in from New York, who many times, has absolutely no connection to the culture. Certainly don’t have as many contacts as myself, a Matt Sonzala, Carlton Wade, Jocelyn Wilson, Eric Robertson, or the young Greg Gate$ from Florida (whom I’m also mentoring). We have a few journalist from the South, now. U know what really pleases me about this game..... Is to see magazines come up. U know, to see magazines like yours, The New Power Magazine, which I knew as The Mississippi Rap Report when u first started. To see Tha Hole in Alabama come out. And Street Masters in Memphis doing his thing. To see Grooveline in Louisiana being published and in the game for 5 years. To see any number of magazines that are coming out and are focusing on southern hip-hop. Because when the game first started, there were very few magazines doing that. And those magazines that were, were usually the magazines that I wrote for. Usually, we had to depend on the westcoast magazines to show us the most love. 4080, Rap Pages, Rap Sheets... those were the ones back in the day who consistently showed us love. Then of course, when XXL came out, they really made a statement by putting P. on the cover. That was big back then.

Charlie, it’s been a pleasure. I really do appreciate your time. Is there anything you’d like to say before we wrap up ?

Any artist in any city, who wants to see their city get shine, has to understand that it’s important that not just he makes it, but that he reaches back and brings at least one person. To me that’s gonna be key. Sharing information with each other is gonna be key. Sharing resources with each other is gonna be key. The record pools like TJs Djs, the djs, and the mixtapes are vital in the game today. Mixtapes have become the radio of the streets. I am a huge fan, and a huge advocate of mixtapes. Because as a writer, that’s were I go to to hear the next hottest cat. I’m not gonna hear it on the radio. Cause I’m gonna hear the same 40 records every hour on the hour. Anthony, thank you for your wanting to take the time out to interview me.

Like I said, It was my pleasure.